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2013 PUBLISHING WITH PALGRAVE MACMILLAN A GUIDE FOR AUTHORS CONTENTS An Introduction to Publishing 3 Part One. Welcome to Palgrave Macmillan 4 About Palgrave Macmillan 4 Your Palgrave Macmillan Contacts 4 Part Two. Completing and Submitting Your Final Manuscript 6 Completing the Manuscript 6 Submitting Your Work 10 Checklist 12 Part Three. From Final Manuscript to Bound Book 13 Final Manuscript 13 The Production Process 13 Appendix 1. Using and Dealing with Copyrighted Material 17 Appendix 2. Illustrations 22 Appendix 3. Preliminary Pages 24 Appendix 4. Special Characters 25 Appendix 5. Poetry 26 2 AN INTRODUCTION TO PUBLISHING This booklet offers an introduction to Palgrave Macmillan and the process of both submitting a manuscript for production and the production process itself. Please read through the whole booklet as soon as possible and use it as a reference guide throughout the process. We believe that doing so will lead to a better final product, with fewer misunderstandings and wasted efforts along the way. Part One is a general introduction to Palgrave Macmillan and the departments that will be involved in producing and marketing your book. Part Two provides information you will need to prepare and submit your final manuscript. Please read this section before completing your manuscript. Part Three explains the production process after your manuscript has been delivered, provides lists to consult before you deliver your manuscript, and includes appendices that provide more details about permissions, images, tables, prelims, poetry, special characters, and edited volumes. Thank you for publishing with Palgrave Macmillan. We wish you every success with your book. 3 Part One: Welcome to Palgrave Macmillan About Palgrave Macmillan Palgrave Macmillan is a global academic publisher serving learn ing and scholarship in the field of higher education and publishing for the scholarly and serious nonfiction markets. It has an established and distinguished track record of international academic pub lish ing as well as a respected association with St. Martin’s Press. Palgrave Macmillan has a substantial and renowned list of books at all levels, including scholarly monographs, reference books, and textbooks, with leading lists in the humanities and social sciences. Palgrave Macmillan also publishes a diverse range of serious nonfiction titles for the general reader. In addition, Palgrave Macmillan is the sole US distributor for I. B. Tauris, Manchester University Press, Pluto Press, BFI, and Zed Books. Your Palgrave Macmillan Contacts There are three departments involved with your book; their roles are summarized below. Your main points of con tact with Palgrave Macmillan will be your Acquisitions Editor and your Production Editor, but you may well deal with other members of our staff at various stages in the production and publication cycle. 4 EDitorial In the time between signing your contract and delivering your final manuscript you should stay in touch with your Acquisitions Editor and your Editorial Assistant. It is particularly important that you let them know if your plans for the book change or if you foresee problems in fulfilling any of the terms of your contract. Your Acquisitions Editor will answer questions regarding permis sions issues, illustrations, cover or jacket design, and endorsements for your book. Your Acquisitions Editor will also be happy to help with any problems that may arise as you work on the manuscript. On or before your contractual due date, send in your final manuscript. Having checked, approved, and accepted your manuscript (after a final review by advisers or a Series Editor if necessary), your Acquisitions Editor will pass it on to the Production Department and the Marketing Department. ProDuction Your Production Editor is responsible for overseeing the copy editing, typesetting, proofreading, and printing of your book. Your Production Editor is also responsible for implementing the jacket or cover design that you have discussed with your Acquisitions Editor. (More information on these processes is contained in Parts Two and Three of this guide.) The Production, Publicity and Marketing Form is a key tool for your Produc tion Editor. The material listed there is used to ensure a careful and speedy production cycle. Sales, MarKeting, anD Publicity Any marketing, sales, or publicity queries should first be addressed to your Acquisitions Editor. Your Editor will discuss the book with the sales and marketing team, and an appropriate plan will be created to sell and promote your book both domestically and internationally. More information regarding the marketing and publicity of your book will come under separate cover. 5 Part Two: Completing anD Submitting Your Final Manuscript This section covers what you will need to know to ensure that your manuscript reaches us in the most appropriate form, so that we can produce your book as quickly and efficiently as possible. Please read it through in full and then refer to it as often as necessary as you progress with your book. Completing the Manuscript 1. Word Count Your contract specifies a word count for your manuscript (which is intended to include notes and bibliography). If you fear that you are going significantly over or under, contact your Editor immediately. 2. Collaborations If the manuscript is the work of two or more authors or editors, each should examine the manuscript before its final submission and after its final editing. But, in order to ease communication, one collaborator should be designated as the contact with Palgrave Macmillan for each step of the process. Please let us know who will be doing what. 3. Permissions (See Appendix 1: Using and Dealing with Copyrighted Material) We require “nonexclusive world rights in all languages for all media and all editions of your work, including advertising, publicity, and promotional materials for the book.” If anything in your manuscript requires per mission to reprint, you must obtain those rights. Start that process as soon as you can—it is Palgrave policy not to accept manuscripts for which permissions are outstanding into production. If you have questions about what may or may not require permission, please speak to your Editor. Unresolved permissions issues are the most frequent cause of delays in the production process. 4. Style We do not impose a rigid house style, but we would like to suggest some basic conventions that we prefer. Our default style guide is The Chicago Manual of Style, 16th Edition. Please refer to this guide if you have any questions concerning grammati cal or stylistic points. If you wish to use a different style guide, please discuss this with your Acquisitions Editor before going ahead (and, if agreed, please remind us of this agreement when you send in the final manuscript). Note, however, that we always insist on American style and punctuation. For spelling, we follow Merriam-Webster’s Dictionary, 11th Edition. 6 We suggest that before finalizing chapters you create a list of your stylistic decisions (for edited collections, send this list to your contributors as soon as possible, so that they can follow your guidelines when writing their chapters). If you prepare such a list, definitely include it when you send us your final manuscript. Your list should most likely address the following: Use American spelling consistently (for example, characterized, not characterised) except for quoted material. Spelling foreign words. In works dealing with foreign countries or foreign languages, especially those with alphabets different from English, it is wise to decide on the spelling or transliteration style of names and words at the outset and to include your preferences in your list of stylistic decisions. If you wish to use special characters/dia critics, talk to your Editor (and see Appendix 4). You may need to provide a PDF page of the special characters to ensure the proper display. Adding special characters after the book has gone into production is costly and difficult. Italicize foreign words and phrases, with the translation in roman in parentheses—for example, barranca (steep bank)—unless they are proper nouns or words that are familiar in the American lexicon—for example, Moscow (Moskva), perestroika, or de facto. It is up to you to verify that the spelling of foreign words is correct. Centuries should be written out in full: eighteenth century (not 18th century or XVIIIth century). Decades may be written out or written as numerals: the seventies or the 1970s (without an apostrophe between the number and “s”), but be consistent with the style that you choose. Numbers. Please decide ahead of time whether you will spell out only one through ten or whether you will spell out all numbers to one hundred (numbers 101+ should always appear in numeral form, except for large round numbers, such as six million). Percent should be spelled out in full in the text; use numerals in conjunction with the spelledout form (e.g., 50 percent). In tables or figures the % symbol should be used. Acronyms consisting of capital initial letters should be spelled out in full on the first mention in each chapter and put in paren thesis, with the next mention as abbreviation only; for example, World Trade Organization (WTO). Common abbreviations such as etc., i.e., and e.g. are fine when appearing in parentheses or in the notes, but in the text, please spell out as et cetera, that is, and for example. Ellipses should consist of three spaced dots with a space on either side. Also, when 7 the last part of a quoted sentence is omitted and what remains is still a grammatically complete sentence, a period followed by three spaced ellipsis dots may be used (using only three ellipsis dots is also acceptable, but your style should be consistent). Use double quotation marks for quotes, single marks for quotes within quotes, and double again for quotes within quotes within quotes.